An Adlerian Study of Marilyn Monroe
Alfred Adler Institute of Northwestern Washington
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Bellingham, WA 98226
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E-mail: HTStein@att.net
An Adlerian Study of Marilyn Monroe1
Heinz Ansbacher
A presentation given at the University of Oregon on October 20, 1976.
[Copyright 2015, Alfred Adler Institute of Northwestern Washington. This article may
not be copied or distributed without the expressed consent of the AAINW]
My particular interest in the case of Marilyn Monroe was aroused
through two early recollections that she gave in her inter- view in Life,
published two days before her death, and her child- hood dream
published in Time. Through these three items, together with the basic
data about her reported by the press at the time of her death, I felt that I
understood her very well--although I had never met her. Later
information that became known about her confirmed the original
hypothesis.
I arrived at the conclusion that as a child living in foster homes,
Marilyn had set herself a godlike goal. Her misfortune was that as a sex
goddess she achieved that goal to a fantastic extent.
Pampered by her circumstances as she was, she never gained a
mature outlook and remained unprepared to meet the tasks of life as a
human being. Her suicide was, so to speak, a confirmation that she had
no place in this world.
The following is not technically a case history, but psychobiography or psycho-history, a new and somewhat controversial
discipline. Adlerian psychology lends itself very well to this approach to
characters in the news and in history, and can be most helpful in making
them more understandable.
Objective Account and Contradictions
The case of Marilyn Monroe is particularly interesting because
she has become a controversial figure. Even at the time of her life and
1 This discussion follows closely an earlier presentation, part of the author’s
chapter on “Goal-Oriented Individual Psychology: Alfred Adler’s Theory”, in
Arthur Burton (Ed.), Operational Theories of Personality. New York:
Brunner/Mazel, 1974. Pp. 99-142.
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An Adlerian Study of Marilyn Monroe
shortly after her suicide, so many contradictory bits of information
became known about her that she appeared to most people as a puzzling
and complicated character. However, with the Adlerian approach these
contradictions resolve themselves, and one can See that behind the
surface contradictions there is a great inner consistency.
The contradictions are, to begin with, that she was enormously
successful and at the same time so very unhappy that in the end she
committed suicide. To indicate her onetime immense popularity, at the
height of her career fans sent her 5,000 letters a week, and her 23 films
since 1950 grossed about $200 million. Even so, on August 5, 1962, she
died from an overdose of sleeping pills; she was lonesome and all alone.
During her last years she had suffered severe setbacks. Two
months before her death, she had been dismissed by 20 th Century Fox for
unjustifiable absence during filming. She pleaded with Fox in vain to let
her return to work. Her two previous films had been box office
disappointments.
Another contradiction developed around the idea that she was a
sex symbol. Although her success was based on her unusual sexual
attraction, in her own life she had not succeeded in marriage. She was
divorced from Arthur Miller after four years, and two previous marriages
had also ended in divorce. It is questionable how much she was
interested in sex altogether. According to one biographer, Marilyn was
too self-absorbed to respond to men most of the time.
As a child she was considered a tomboy, liked to lose herself in
group sports such as baseball, was always considered a good athlete, and
was not interested in feminine skills. Physiologically, too, there were
difficulties with the feminine role. She had suffered at least two
miscarriages and was never able to have a child.
Also, her personality seemed to have two sides. On the positive
side, people who knew her well from living and working with her most
often described her as warm, likable, good-humored, and witty. She was
also considered generous, conscientious, healthy, zestful, and relaxed.
On the negative side, her most exasperating characteristic was her
truancy and tardiness through which she finally lost her con- tract, since
the studio could no longer afford the enormous expense this caused. On
one occasion, in 32 days on the set she showed up only 12 times, and
made only seven and a half usable minutes of film. She was from one to
24 hours late for appointments. She would spend four hours on her
make-up, knowing that reporters were waiting for her in the next room.
She was also considered self-absorbed, if dedicated, lacking self-control
and self-discipline, having a lad temper, given to rages and private furies,
and, most frequently, nervous, scared, and unsure of herself. One
publicity man felt Marilyn had a tremendous inferiority complex.
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As to habits, it was reported the urge to go nude in public was her
strongest whim. While she was still an unknown starlet she posed in the
nude for a widely distributed calendar photograph, at a time when this
was by far more unusual than it would be today. In a later interview she
said she was not ashamed about this. She spent her last day sunbathing,
glancing over film scripts, and playing with cloth dolls.
It was with all this that she had been considered a sex symbol, a
con- temporary Venus, and yet she was actually what one might call
frigid.
Marilyn liked to tell that she had had a terrible childhood.
But, while it was not perfect, it was not as bad as she made it.
Marilyn’s mother had been married and divorced and her two previous
children were not in her custody. Marilyn’s father never entered the
picture. For the first seven years Marilyn remained at one foster home
where she was kept with up to four other boarding children, strict- ly, but
rather well, in a religious atmosphere. Her mother visited her on
weekends, and Marilyn saw her grandmother even more frequent- ly
until the latter was committed to a mental institution.
This was followed by two years when her mother tried to lock after
Marilyn, and by two years in an orphanage of 50 boys and girls. She was
very well-liked by the principal of the orphanage and led actually a
relatively good life there. Then came four years of various placements,
and at the age of sixteen she married. The marriage had been suggested
by friends as a way of finding a home for Marilyn. Her husband, Jim
Dougherty, was a simple and good young man. But toward the end of the
war, and after it, he was away with the Maritime Service. During that
time Marilyn lived with her in-laws and took a job in a parachute plant,
at which she was an ambitious and productive worker. She won a
decoration for excellency and became a fore- woman, but was somewhat
disliked by those under her for being too severe with them and a kind of
slave driver.
It was there that she was discovered by an army photographer
who was sent to the plant to do a story on women in war work. This was
the beginning of her way into modeling and the moving pictures, the
realization of a lifelong ambition. She had always wanted to be an
actress. Although she actually liked her husband, she divorced him in
1946, feeling that the marriage would stand in the way of a film career.
Everyone said her husband was a nice young man and they had a good
time at first. Since she was a tomboy, they went hunting, fishing, and
hiking together and had a nice life.
For the new career, she changed her name to Marilyn Monroe.
So much about the “contrasts” in her life, the most remarkable of
which was that she changed all of a sudden from a very ambitious person
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working as a factory forewoman to a movie star and model. We shall
come to that later, and it also can be explained. There seems to be a dual
personality and a complete changeover. Adlerian psychology, however,
believes in the constancy of the life style, and this change can be very
well reconciled.
The Adlerian Approach
To understand the life of Marilyn Monroe is to see this inner
consistency, and it can be seen only if we can formulate the answer to the
question, “What was she actually after?” What was Marilyn’s goal? The
answer ought to be the key to the resolution of the contradictions in her
life.
As to hereditary and environmental causal explanations, true, her
maternal grandparents and her mother were eventually committed to
mental institutions, and an uncle committed suicide. True also that she
did not have a childhood home of her own. But these factors explain her
failure no better than they explain her ambition and great success. If she
had all this against her, why wasn’t she always a failure? Nor, and this is
more important, can we see in such explanations any application to
psychotherapy.
Marilyn saw several psychoanalysts in her later life and right up
to the end. What this did for her comes out in some of her utterances in
interviews. These confirm our guess as to what their explanations may
have been. “We are all born sexual creatures [that must have been the
notion of infantile sexuality]. But it is a pity so many people despise and
crush this natural gift [repression]. Art, real art, comes from it-everything [libido, sublimation].” At first she thought the treatment
helped: “I’m beginning to understand ay- self. . . I’ve spent most of my
life running away from myself. . . I don’t feel as hopeless as I did. . . I’ve
read a little of Freud, .I think he was on the right track.” But in the end it
was, “I have never understood it--this sex symbol.”
From the Adlerian point of view, and in accordance with
experimental psychology and especially behavior therapy, it must be
possible to operationalize a statement, i.e. it must be possible to translate
a statement into a description of what one actually does.
Now, “running away from yourself” is something that cannot be
done.
It is absolutely inconceivable, and cannot be operationalized. One
can run away only from something outside oneself. Furthermore, in
Marilyn’s case, if one wanted to use the phrase, one could only say the
opposite, namely, that she did not run away from herself in that she was
too self-absorbed.
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Regarding Marilyn’s other interview statements, in Freudian
psychology, of course, everything is interpreted in terms of sex, while in
Adlerian psychology sex is just one of the functions of life, although a
very important one, and, like all other functions, is subordinated to the
personality as a whole, the style of life.
The holistic Adlerian approach proceeds phenomenologically and
teleologically to arrive at explanations. The crucial heuristic de- vice is
the working hypothesis of an overall goal, a guiding image toward which
the person strives and of which he is not really aware, yet from the
viewpoint of which all his actions “make sense”, although often only
private sense rather than common sense. When the nature of the goal and
the opinion of oneself and the world are somewhat correctly inferred,
even contradictory phenomena will fall into place without unresolved
basic contradictions--in contrast to the usual assumptions of “inner
conflicts” and ambivalences. The there), would attempt to modify the
goal and the opinions of one’s self and of the world, in order to attain
more self-transcending, contributive, and satisfactory behavior. One way
to get at people’s subjective views is to have them tell what they
remember from their earliest days, their early recollections.
Early Recollections and Interpretations
Marilyn’s world view and goal may of course be inferred to some
extent from the story so far. But these inferences become much more
palpable from an examination of her early recollections (Ers), a most
specific Adlerian technique. A remembered childhood dream is included,
as are ER’s that may be more or less fantasy, or are based on stories
retold to the subject by others. The objective truth is not so important.
Fortunately, we are supplied with a series of such ER’s.
An introductory summary of all her early recollections is that
Marilyn never does anything with anybody. In each one of them she is by
herself and in contrast to others.s
ER 1 When at her grandmother’s at the age of one, she told her
husband Arthur Miller, “I remember waking up from my nap fighting for
my life. Something was pressed against my face. It could have been my
pillow. I fought with all my strength.” (Guiles 1969, p. 12).
The age at which this took place is immaterial. Marilyn sees that
the world is a hostile place where one fights, and that fortunately she is
strong. You have to fight for your life. This is the first motif that she
remembers.
ER 2 Also at a very young age at her foster home, there was a
boy, Lester, two months her junior. One day, Marilyn recalls, she and
Lester shed their clothes in the front yard and were surprised to find a
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difference in themselves. She was shouted at, while Lester escaped
punishment (p. 13).
In ER 2 we have the nude motif. How it came about is
unimportant.
The important thing is that nudity was a factor in her life. She
was shouted at, while Lester escaped punishment. Every one of her
recollections includes an indictment against the world. She is al- ways
the poor innocent little me, and the world is always against her. This is,
of course, a way to escape responsibility. She is always the victim. When
she does something wrong she has wonderfully good reasons, beautiful
excuses.
EH 3 Lester and Marilyn shared a tricycle. One day she pushed it
over with Lester on it, bumping his head. She got a whipping with a
razor strap. “I got into more trouble than the other kids” (p. 16).
Although she did something wrong, she was not in any way sorry
for it, but still made an accusation that she got a whipping. Regarding
Marilyn’s statement that she got into more trouble than other child- ren,
getting into trouble is a sign of activity--Marilyn was a strong and active
person.
ER 4 While I was in the second grade, the public school chose me
to appear in the Easter sunrise service at Hollywood Bowl. . . All we
children were arranged in the form of a cross. Just when the sun rose we
were given a signal to throw off the black robes (we wore white tunics
underneath) and that changed the cross from black to white. I got so
interested in watching the sky I did not. . . see the signal. I was the only
child who forgot to throw off the black robe. I was the only black mark
on a white cross (Zolotow, 1960, p. 106).
She is different, even if it is by doing something wrong. And
when she does something wrong, it is for a wonderful reason--she
appreciates the sky. Actually she spoiled the whole thing, yet she Is
someone better just the same.
ER 5 When I was maybe 6 or 7, I dreamed I was standing in
church without any clothes on, and all the people there were lying at my
feet on the floor, and I walked naked, with a sense of freedom, being
careful not to step on anyone (Time, 1962).
This recollection was in Time Magazine at the time of her suicide.
It almost doesn’t need any interpretation. It is interesting that she
is being careful not to step on anyone. That was a redeeming feature in
her; people thought she was nice and considerate. She had this friendly
and tactful aspect even when she walked over other people’s heads.
Later on in life, according to the myth of today, she was exWeb Site: www.Adlerian.us
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plaited and degraded by publicity people as a sex symbol. But smart
publicity people usually take their cues from the subject. It was actually
she who made a symbol out of herself. Marilyn made herself a goddess
or an angel, but certainly something out of this world, not of this world.
ER 6 At age 7 or 8 she recalled seduction by an elderly star
boarder who wore a heavy golden watch chain over the wide expanse of
his vest, and that he gave her a nickel “not to tell”. When she nevertheless
did tell, her foster mother severely punished her for making up lies about
the “fine man” (Luce, 1964, p. 72).
ER 7 From this period she also remembered: “Some of my foster
families used to send me to the movies to get me out of the house and there
I’d sit all day and way into the night, up in front, there with the screen sc
big, a little kid all alone, and I loved it” (Monroe, 1962, p. 33).
ER 7 is important in the sense that it is a picture of poor little me,
facing the enormous figures on the screen in front of her. They were her
ideal. The image expresses the dialectic between where she was--poor
little me--and where she would like to be--a big figure on the screen, her
dream. One can see the striving from inferiority to superiority. In her
case, the maladjustment was that she remained immature, did not
become responsible. Little children naturally dream about being big
someday, but she never got beyond that, and continued to see herself as
“poor little me”. Between the extremes of “a little kid all alone” and the
big success, the concrete reality was ignored.
ER 8 From the time she was 11 she remembered: “The
whole world which was always closed to me suddenly opened up. Even
the girls paid attention to me because they thought, ‘She is to be dealt
with.’ I had this long walk to school --2 ½ miles to school, 2 ½ miles
back--it was sheer pleasure. Every fellow honked his horn. . . The world
became friendly. All the newspaper boys when they delivered the paper
would come around to where I lived. I used to hang from a limb of a
tree, and I had sort of a sweatshirt on. . . Here they’d come with
their bicycles and I’d get these free papers and the family liked that
and they’d all pull their bicycles up around the tree and I’d be hanging.
I was a little too shy to come down. I did get down to the
curb. . . mostly listening. . . I used to laugh so loud and so gay. . . It
was just this sudden freedom, because I would ask the boys, ‘Can I
ride your bike now?’ and they’d say ‘Sure.’ Then I’d go zooming,
laughing in the wind, riding down the block laughing, and they’d
all stand around, and wait till I came back, but I loved the wind; it
caressed me” (Monroe, 1962, p. 33).
In this ER Marilyn is very active and strong--climbing a tree,
riding a bicycle. In her adolescence she also became very good
looking and exploited her good looks, getting people to do her favors.
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She borrowed the bicycle from one of the boys and then rode off
all by herself. She rode down the block and they all waited until she got
back; she was testing her power; such letting-others-wait became fatal
for her in the end. She loved the wind. Again, only the supernatural,
superhuman is good enough for her. It is the same as in the previous
instances where instead of changing her robe at the Easter performance
she looked at the clouds, where she walked over other people’s heads.
Now, she lets the wind caress her. She Ls always out of this world, and in
touch with something “higher”.
The unifying principle in Marilyn is about as follows. She was a
strong and ambitious person. She was successful in the factory and got
promoted; she was a hard worker. When she saw that she could have a
more promising career as a model and in the movies, she ruthlessly
terminated her first marriage. Her change from factory worker to sex
symbol accords with Adler’s conception that one can strive for power
and success not only with strength, but also with weakness. Marilyn
changed from more or less masculine means to feminine means. In either
case she pursued her goal of success. In her feminine role she won the
world by always being coy, honest, disarming. In this light her nudity can
also be understood. When a person is nude she is most vulnerable. She is
not only like an angel out of this world, but she also conquers through
vulnerability. Marilyn conquered through strength, and through
weakness.
Further Interpretations
Psychotherapy begins where personality appraisal, interpreting
what the patient tells us, begins. Early recollections, dreams, and other
behaviors are considered samples of the individual’s life Style.
From these one arrives at an understanding of the style of life.
The person does not understand this because he does not see his behavior
in its context. Interpretation is based on doing just this. The difficulty in
psychotherapy is to discuss basic mistakes in his life style with the
patient in such a way that he can understand and accept them.
The Goal of Superiority
From ER 5, a remembered dream, we learned that “all the people
were lying at my feet on the floor”. How could one depict more starkly
the idea of absolute superiority? With all the people at her feet in church,
she becomes immediately a goddess, or at least an angel. Her nudity in
this context seems to be more an expression of sublimity than of
sexuality. In one of her late roles, “she seemed an exhausted angel
trapped among earthlings” (Guiles, 1969, p. 267). Once she told a
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member of the Fox studio legal staff, “I don’t care about money. I just
want to be wonderful.’ In ER 8, Marilyn is again above the crowd and
uses her shyness to get what she wants, in one case a bicycle which she
used to leave other people behind. “I loved the wind; it caressed me.”
Only a natural phenomenon, the wind, not a human, is good enough for
her--making her in fact superhuman.
Conquest Through Vulnerability
Without clothes, one is at a disadvantage in a world where clothes
are worn; one is literally more exposed, more vulnerable. Yet in ER 5 she
has all the people at her feet while she is naked. That she is thus
venerated in all her innocent vulnerability heightens her triumph.
This gives her “a sense of freedom”--from any responsibility.
Fitting with her state of vulnerability, she is “careful not to step on anyone”. It was through her nudity that she actually attempted to and did
conquer the world. She also wanted to secure her immortality through
her body. Twice shortly before her death she had nearly-nude and nude
photographs taken of herself, saying, “I want the world to see my body”
(Time, 1962). She also was found nude upon her deathbed.
The Will to Conquer--Masculine Protest
Yet the “angel trapped among earthlings” was also an active,
fighting, and athletic girl who did not like her role as a woman. Her ER 1
sets the tone. The first thing she remembers is having to fight for her life,
and she credits herself with, “I fought wit’: all my strength”. As an active
child she also remembers having gotten “into more trouble than the other
kids” (ER 3). Climbing trees, riding a bicycle, the pleasant memory of
her long walk to school (ER 8) round out the picture of a tomboy who
later also had difficulties with her feminine physiological functions. All
this corresponds quite well to Adler’s description of the masculine
protest in woman. “Fighting, climbing, excessive achievements in sports
point to dissatisfaction with the feminine role and to the masculine
protest”.
Human beings, however, operate dialectically, so that, e.g.,
defiance may be expressed through excessive obedience. In fact, “The
masculine protest in women is usually covered up and trans- formed,
seeking its triumph with feminine means”. When the army photographer
discovered Marilyn’s talent as a model, she immediately pursued this
opportunity of realizing her old ambition with the vigor characteristic of
her. It also was the start of her transformation toward “seeking triumph
with feminine means”. As if to mark this transformation, she changed her
name from Norma Jean Mortensen to Marilyn Monroe.
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If we regard her transformation as merely a change of means,
from “masculine” to “feminine” means--and we have seen that she was
able to utilize both--while she actually saw life as a fight requiring “all my
strength”, then we have the resolution of the apparent contradiction that
the “sex symbol” was unable to stay married and probably also was not a
good lover. It would also reconcile Marilyn’s traits of being warmhearted and affable with her inclination toward temper, rages, and private
furies. Either way she was a lone fighter.
“I have always had pride in the fact that I was on my own”
(Monroe, 1962, p. 33).
Lack of Social Interest
Not one of her ER’s indicates that Marilyn believes goals can be
attained through cooperating on an equal footing with others, as a fellow
human being. She is either above others (Ers 5 and 8), get- ting
something for nothing (ER 8), fighting alone for her life (ER 1), being
different from others (Ers 2 and 4), alone (ER 7); or being victimized by
being punished for something she did (ER 3), or being punished unfairly
(Ers 2 and 6), or being sexually seduced (ER 6).
Marilyn can certainly be considered to have been a neglected
child in the sense that her mother was unable to introduce her to the
world as a friendly place where people essentially cooperate.
For such individuals the probability is great that they will “seek a
form of life in which they are alone”, believing the others to be their
enemies. Their goal of success will be, to be on top—alone.
The Antithetical Mode of Apperception
The Adlerian dialectic inferiority-superiority dynamics is greatly
accentuated if social interest remains underdeveloped aid the striving is
one for personal superiority. This sharply polarized mode of
apperception is shown in ER 7 where Marilyn is sitting in the movies,
“up in front, there with the screen so big, a little kid all alone”, the
people on the big screen representing her dream of the future.
At the height of her acclaim when she was so-to-speak at the
other end of the continuum she still retained this polarized view, simply
because everything with her remained self-referent. She had not matured.
In 1962 she was asked to appear at President Kennedy’s birthday rally in
Madison Square Garden in New York.
“There was a hush,” she told, “over the whole place when I came
on to sing ‘Happy Birthday’. . . A hush like that from the people warms
me. It’s sort of like an embrace. . . When I turned to the micro- phone I
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looked all the way up and back and I thought, ‘That’s where I’d be--way
up there under one of those rafters. . . after I paid my $2” (Monroe, 1962,
p. 36).
Since she saw herself at any time in this “all or nothing”
dimension, her success, when it was attained and as it faded, did not
seem real. “I used to get the feeling, and sometimes I still get it, that
sometimes I was fooling somebody, I don’t know who or what--maybe
myself” (p. 34). And again, “Fame to me certainly is only temporary and
a partial happiness--even for a waif, and I was brought up a waif” (p.
38). “Then you’re at the finish line and you sort of sigh--you’ve made it:
But you never have--you have to start all over again” (p. 38).
The Pampered Life-Style
While Marilyn had to some extent been a neglected child, there
was also some pampering. Once she had achieved initial success, the
pampering took on gigantic dimensions. The difficulty with attain- ing so
much for relatively so little is that the elevated position is not
accompanied by a corresponding feeling of personal growth,
competence, and self-confidence. Since this disproportionate per- sonal
success was, however, all she had and cared about, and since through her
pampered position this became Increasingly precarious for her, she
developed her various symptoms as excuses and safeguards for her selfesteem.
It is characteristic of the pampered life-style that in any serious
problem situation the person has no other resort than to put the blame on
others and to increase her demands. This is striking- ly illustrated by
Marilyn in her last interview. Instead of showing any understanding for
the fact that with her tardiness she really had caused tremendous losses
to the studio, she blames the motion picture industry for not taking good
enough care of its famous actors.
“This industry should behave like a mother whose child has just
run out in front of a car. But instead of clasping the child to them, they
start punishing the child” (Monroe, 1962, p. 34). That is, she believes
herself to be entitled to act irresponsibly like a little child, and in return
to be pampered all the more by a doting parent.
To be made to suffer the logical consequences for her actions as
any sensible parent would do, she considers a grave injustice. This
unreasonable demand and accusation express the error in her life- style
which therapy would have to correct by getting her to see what she is
really doing, namely behaving as if she were not subject to the common
human order of living.
ER 8 reflects her wanting to be pampered. She receives newsWeb Site: www.Adlerian.us
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papers and a bicycle ride free, without giving anything in return, and
instead, going off on her own. Even letting others wait, this important
part of her, is included in this ER. “The boys would all stand around and
wait till I came back. This was introduced with: “The whole world. . .
suddenly opened up. Even the girls paid attention to me.”
Concluding Remarks
Matching the case of Marilyn Monroe against Adler’s description
of the potential suicide, we may say: Marilyn was an active person with
extraordinary ambition and little thought of others. She tried, however, to
enlist their sympathy and kept herself in a mood of self-pity, by dwelling
on her unfortunate childhood situation, making it appear darker than it
was. As long as she was at the beginning of her movement from minus to
plus, as she had construed it, she was merely a determined fighter for her
ends, be it by masculine or by feminine means. But as she advanced
toward the plus side, two things happened. She was rewarded by society
out of all proportion, and at the same time she felt increasingly
threatened in her vanity and personal superiority because she had enough
tacit “common sense” to feel the “unreal” foundation of it all. All her
symptoms and her suicide can be seen as attempts to maintain her
exalted and erroneous opinion of herself. The exogenous factor for the
suicide was the cancellation of her contract, a situation which she was
quite unprepared to meet. Having presented herself and pitied herself all
her life as a victim of cruel circumstances, her suicide is also to be seen
as an accusation of and perhaps revenge on persons close to her who did
not fulfill her “insatiable demand for limitless love” (Luce, 1964, p. 78),
and the world at large which she blamed for not treating her fairly. And,
indeed, her suicide was taken by many as an indictment of the
“establishment” to which, after all, she owed her success.
The task of therapy would have been to modify her opinions in
the direction of common sense by demonstrating to her in a friendly
way, step by step, her present mistaken ways. She would then recognize
her over-life-size secret goal of success, her personal ambition, her
disrespect for the larger social context of her life, her lack of social
interest. She would then also understand and accept that her difficulties
are not “caused” by anything in her past, nor by any present malice of
particular persons or the system, with herself as the helpless victim, but
by her goal and consequent actions. She would realize that she is in fact
a very active and forceful person, and could begin to use her resources to
live in a more cooperative, constructive and all-around more satisfactory
way in which she would no longer need her symptoms.
Web Site: www.Adlerian.us
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An Adlerian Study of Marilyn Monroe
References
Guiles, F. L. Norma Jean: The Life of Marilyn Monroe. New
York: McGraw-Hill, 1969.
Luce, C. B. “What Really Killed Marilyn?” Life, August 7, 196i,
68-74, 77-78.
Monroe, M. Interview with Richard Meryman. Life, August 3,
1962, 31-34, 36, 38.
Time Magazine August 10, 1962.
Zolotow, M. Marilyn Monroe. New York: Harcourt, Brace,
Jovanovich, 1960.
Web Site: www.Adlerian.us
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